{"id":52464,"date":"2026-09-21T13:37:22","date_gmt":"2026-09-21T11:37:22","guid":{"rendered":"https:\/\/www.urbanpresents.net\/?p=52464"},"modified":"2026-09-21T13:46:11","modified_gmt":"2026-09-21T11:46:11","slug":"opur-france-developing-experimental-graffiti-as-part-of-a-new-generation","status":"publish","type":"post","link":"https:\/\/www.urbanpresents.net\/en\/2026\/09\/opur-france-developing-experimental-graffiti-as-part-of-a-new-generation\/","title":{"rendered":"OPUR (France): Developing experimental graffiti as part of a new generation"},"content":{"rendered":"\n

Hello! You are from France and you live in Rennes, in the region of Brittany. How long have you been living there, and why?<\/strong> <\/p>\n\n\n\n

\u2028I moved to Rennes for studying, in 2018, I started university to study visual arts. <\/p>\n\n\n\n

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Where did you grow up and live before that?<\/strong> <\/p>\n\n\n\n

\u2028I grew up and lived in \u00cele-de-France. That\u2019s where I started with graffiti, but it was in \u2028Rennes that I really developed my work. <\/p>\n\n\n\n

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Can you tell us about your childhood? How did you grow up?<\/strong><\/p>\n\n\n\n

\u2028I grew up in a loving family; I had the opportunity to pursue whatever interested me. I \u2028played music when I was younger, and I was already painting as a child. I was lucky \u2028that my family let me pursue what I loved. <\/p>\n\n\n\n

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What instrument and music did you play as a child? And are you still playing music today?<\/strong><\/p>\n\n\n\n

\u2028<\/strong>I started playing the clarinet when I was younger; I played it for six years and \u2028stopped when I was a teenager. It gave me an appreciation for music, even though \u2028I didn\u2019t enjoy playing it by the end. I don\u2019t play a physical instrument any more, but I \u2028do make music using software from time to time.<\/p>\n\n\n\n

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Is there an artist in your family?<\/strong> \u2028<\/p>\n\n\n\n

My father is an architect; he\u2019s good at figurative drawing\u2014he\u2019s skilled at that and using\u2028watercolor. He draws and paints in his free time. But my approach to and vision \u2028of art are quite different from his, of course. <\/p>\n\n\n\n

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Did you draw or paint when you were a child?<\/strong> \u2028<\/p>\n\n\n\n

Yes, I painted a lot with children\u2019s art supplies\u2014gouache and cheap paintbrushes. I\u2019d \u2028make up stories in my head and paint them at the same time; it\u2019s that energy I try to \u2028recapture when I paint even today. <\/p>\n\n\n\n

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Have you read any comic books?<\/strong> \u2028<\/p>\n\n\n\n

Not very many. I had some Gaston Lagaffe comics that I thought were really funny, but I\u2019m not an avid comic book reader. I really loved manga-style comics, like Albator and Goldorak; those imaginary worlds left a lasting impression on me because of their visual and auditory atmospheres. <\/p>\n\n\n\n

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How, when, and where did you discover graffiti writing?<\/strong> \u2028<\/p>\n\n\n\n

A friend and I discovered a vacant lot surrounded by walls, a bit hidden and not far \u2028from the middle school we attended. We went there several times, and one day we \u2028found spray cans on the site. We started tagging just like that, and one thing \u2028led to another\u2014we discovered the Parisian spray paint shops and slowly got into it. <\/p>\n\n\n\n

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You started when you were 15 or 16, right? What was your name, and what kind of \u2028style did you use?<\/strong> <\/p>\n\n\n\n

\u2028That\u2019s right\u2014I was 15 at the time. I tried out several tags that I didn\u2019t stick with for \u2028long; my second-to-last one was EUROP. We were studying Europe in history and \u2028geography class, and I thought it was lame, so I wanted to \u201cblind\u201d the word \u201cEurope\u201d \u2028by removing the \u201cE\u201d at the end and tagging it. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Le Rheu, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu, Urbex, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, La Courrouze, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Skateparc Arsenal, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Saint H\u00e9lier, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, Mur3, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, Mur, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, Mur, 2019 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Gare, 2019 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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How long have you been going by OPUR (Opur LaBouture on Instagram), and what \u2028does it mean?<\/strong> <\/p>\n\n\n\n

\u2028I went to Rennes for the first time in 2017, and on my very first day I was tagging \u2028\u201cEUROP\u201d when a police car drove right past me. I ran to hide in an alley, but they \u2028found me and threatened me after taking my ID.They told me that if they saw even \u2028one more \u201cEUROP\u201d tag in town, they\u2019d know it was me. I got scared and changed \u2028my name. I rearranged the letters of that name\u2014which I was starting to get the hang \u2028of\u2014and that\u2019s how I came up with \u201cOPUR\u201d! \u2028While I was in university, I became interested in plants and the metaphors they carry\u2014\u2028parasitism and invasion. Delving into those ideas led me to find a rhyme for OPUR: la bouture\/\u2028OPUR \u201ccuttings.\u201d Like a plant, when I do graffiti and tags, I plant seeds and scatter cuttings \u2028wherever I go. <\/p>\n\n\n\n

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How important was tagging to you? And what about throw-ups?<\/strong>\u2028<\/p>\n\n\n\n

I thought it was awesome to leave a part of yourself in public spaces\u2014tagging is \u2028about claiming a space as your own. Scouting out spots to paint is also a way to get to know the city you live in, and that\u2019s way more important to me than shops or \u2028restaurants, for example. It took me a while to get into throw-ups; I did quite a few in 2020 and I\u2019m doing them again now, but it\u2019s a slightly secondary discipline, I\u2019ve always preferred to focus on pieces\u2014large-scale graffiti. <\/p>\n\n\n\n

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Did you start out painting alone or as part of a crew? If so, which ones?<\/strong> <\/p>\n\n\n\n

\u2028In the very beginning in \u00cele-de-France, there were just my friend and me graffitiing \u2028together. I met other people back then, but we never formed a crew. Later, I co-\u2028founded a crew in Rennes that was the perfect counterpart to my abstract and \u2028experimental style. It was a very structured crew\u2014lots of block lettering, efficiency, \u2028and grandeur in the letters. <\/p>\n\n\n\n

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Did you learn about graffiti styles from books, magazines, or websites?<\/strong> <\/p>\n\n\n\n

\u2028I spent a lot of time online when I first started doing graffiti; it was through websites \u2028and YouTube that I discovered artists who left a lasting impression on me and greatly \u2028influenced me back then, like SAEIO and IGIT. Later on, it was books and \u2028contemporary artists who inspired me with the different approaches they took. <\/p>\n\n\n\n

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Did a classic style or specific writers influence you in the beginning?<\/strong> \u2028<\/p>\n\n\n\n

It wasn\u2019t really a particular style; it was more about individual artists whose work I \u2028found compelling. SAEIO, the PAL crew members in general, and all the people who deconstructed \u2028letters and created something different. I really appreciated the work of Artur \u2028Breakdance Socia and the Moderne Jazz crew, especially Obisk. <\/p>\n\n\n\n

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Which classic styles do you prefer: block letters, wild style, 3D style, etc.?<\/strong> <\/p>\n\n\n\n

\u2028Generally speaking, I don\u2019t have a favorite style, not even within what\u2019s called \u2028\u201cantistyle.\u201d I have a particular fondness for Parisian block letters, because that\u2019s the \u2028kind of graffiti I saw first and what made me want to try graffiti. <\/p>\n\n\n\n

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Can you describe your style when you first started?<\/strong> \u2028<\/p>\n\n\n\n

At first, I was just trying to draw straight lines; my lettering was pretty rounded, and \u2028without even realizing it, I was already working with the colours and textures I \u2028preferred. <\/p>\n\n\n\n

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Did you really focus on letterforms while learning the rules of style writing?<\/strong> \u2028<\/p>\n\n\n\n

Not really\u2014I just went with the flow based on my influences, discoveries, and \u2028whatever I felt like doing at the moment. I\u2019ve always thought a lot about my pieces \u2028based on where they\u2019re being done. So some traditional lettering work came about \u2028because the conditions called for it. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Chantepie, 2020 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Meudon, 2020 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Meudon, Antibuff, 2020 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Centre Ville, 2020 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Where did you paint the most in the beginning?<\/strong> \u2028<\/p>\n\n\n\n

At first, I started at a lot in the 92; the Western suburb of Paris. I went there pretty often and painted there \u2028frequently. But once I moved to Rennes, I learned to get out and look for more varied \u2028spots. <\/p>\n\n\n\n

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You started working with abstract forms fairly quickly in 2018, inspired by buffs. What \u2028gave you the idea to work that way?<\/strong> \u2028<\/p>\n\n\n\n

I had seen the documentary \u201cThe Subconscious Art of Graffiti Removal\u201d; it moved \u2028me and broadened my perspective on what graffiti can be. If people are completely \u2028unfamiliar with graffiti and can intervene in public spaces and create new aesthetics, this \u2028approach can also come from writers themselves. <\/p>\n\n\n\n

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How did you discover the aesthetic of \u201cbuffs\u201d on the street?<\/strong> <\/p>\n\n\n\n

\u2028After watching that documentary and seeing PAL\u2019s work online, the way I looked at \u2028the streets slowly changed. I started noticing more and more of the erasures, the \u2028traces of pressure washers, and the unintentional marks in public spaces\u2014like burn \u2028marks on walls when people set trash cans on fire. <\/p>\n\n\n\n

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Are there many \u201cbuff zones\u201d in Rennes?<\/strong> \u2028<\/p>\n\n\n\n

A few\u2014there are places where city workers frequently clean the walls. Over time, \u2028I\u2019ve come to know the most interesting spots for graffiti writers: strange places where \u2028buff traces keeps reappearing, but the writers always come back. <\/p>\n\n\n\n

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After school, you told me you studied visual arts. Where and for how long?<\/strong> \u2028<\/p>\n\n\n\n

I studied visual arts for four years; it allowed me to discover new ways of thinking \u2028about and approaching graffiti. For example, I gained theoretical knowledge about \u2028the relational aesthetics movement of the 1990s. It\u2019s a movement that left a lasting \u2028impression on me and made me think about graffiti differently. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Rennes, Villejean, Drap et Projection, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, Drap et Projection, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, Drap, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, Fantome, 2021 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Can you tell us about the relational aesthetics movement of the 90s and the link for you to graffiti?\u2028<\/strong><\/p>\n\n\n\n

This movement \u2013 which isn\u2019t quite a movement but rather a kind of trend \u2013 made a \u2028big impression on me at a time when I was trying to intellectualise my graffiti \u2028practice as much as possible. It was after reading Jean-Charles Massera\u2019s *Amour, \u2028gloire et CAC40* that I began to think about ways of adapting this way of thinking to \u2028graffiti. Drawing inspiration from the works the author discusses in his book and from \u2028my own personal references, I devised several types of artwork to be created in \u2028public spaces and in a studio setting. I was still studying fine art at university and \u2028organised several participatory and collaborative graffiti workshops with the public. I \u2028also worked on interactive forms of visual art.<\/p>\n\n\n\n

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Did these art studies influence your actual graffiti practice?<\/strong> <\/p>\n\n\n\n

\u2028Of course! I created graffiti and canvases specifically for college, and that constantly \u2028influenced my graffiti practice. My studio work and my vandalism-style graffiti went hand in \u2028hand. <\/p>\n\n\n\n

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Your photographs of certain works from your art school days show that you focused \u2028on the connection between graffiti and interior painting, emphasizing erasure and the \u2028effect of layering. You made videos back then, as well as projections of graffiti onto \u2028bed linens. What inspired you to work on erasure and the effect of layering?<\/strong> \u2028<\/p>\n\n\n\n

One of the most recurring themes in graffiti is indeed this notion of erasure; it\u2019s one \u2028of the most frequent variables that alters and shapes the aesthetics of public space. \u2028Noticing that most graffiti artists don\u2019t pay attention to this kind of detail, I wanted to \u2028take the opposite approach by adopting a method that considers and engages with \u2028these variables. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Cleunay 1, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Cleunay 2, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Cleunay 3, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Cleunay 4, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Cleunay 5, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Cleunay 6, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu 1, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu 2, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Le Rheu 3, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Villejean, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Route De Lorient, 2021 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Route De Lorient2, 2021 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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I can sense the influences of antistyle and post-graffiti works, such as the works by PAL crew, KESO, the Diamonds crew, BUS126, and others. When did you discover these styles, and how?<\/strong> <\/p>\n\n\n\n

\u2028I discovered them little by little; some piqued my interest and reinforced my belief \u2028that a dialogue between urban aesthetics and other styles could exist. It didn\u2019t \u2028necessarily influence me aesthetically, but it made me realize that this approach was shared by others. <\/p>\n\n\n\n

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Which artists working in these styles do you particularly like?<\/strong> \u2028<\/p>\n\n\n\n

Today, the people whose work I appreciate the most are NOKIA from Germes Gang, \u2028Sindri Dyrason, Capsor N4S, and Rozer TLS. I find their styles truly innovative. <\/p>\n\n\n\n

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Are there also any modern and contemporary painters you like?<\/strong> <\/p>\n\n\n\n

\u2028I appreciate the work of Katharina Grosse, Lisa Mouchet, and the creations of \u201cLa S \u2028Grand Atelier\u201d\u2014artists who produce work that goes beyond the boundaries of \u2028contemporary art, venturing into areas like graffiti, art brut, and graphic design. I also \u2028enjoy seeing conceptual works that can influence my graffiti practice, such as Allan \u2028Kaprow\u2019s *Yard* (1967). <\/p>\n\n\n\n

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A series of graffiti pieces created in Rennes and Meudon in 2020\u20132021 allowed you \u2028to begin experimenting with the evolution of a graffiti piece within a single session. Can you \u2028describe this concept and process?<\/strong> <\/p>\n\n\n\n

\u2028I had the opportunity to take some time during several painting sessions to think \u2028about staging. By creating a graffiti piece using different materials\u2014spray paint and \u2028a roller\u2014I crafted theatrical scenes that I performed in a single session. The graffiti \u2028appears, tags are slowly added on top, the buff makes an appearance until \u2028everything is erased, and then a new piece emerges. <\/p>\n\n\n\n

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In 2023\u20132024, you continued to experiment with different styles and variations of \u2028lettering using paints you managed to find on the street and at construction sites; this \u2028allowed you to discover new compositions. At the same time, you worked more \u2028extensively on certain letter pieces and illustrations, thereby refining your mastery \u2028of the medium. Can you describe your lettering and illustrations during this phase?<\/strong> \u2028<\/p>\n\n\n\n

This period was indeed quite rich in experience from a technical standpoint. I had the \u2028opportunity to explore lettering inspired by medieval illumination. This kind of work \u2028stands in contrast to what I usually do; it\u2019s still a way of paying homage to the ancient \u2028art of initial letters, from which modern graffiti has drawn very little inspiration. If we \u2028accept that graffiti has its origins in illegality\u2014from cave paintings to soldiers\u2019 scrawls \u2028on the walls of Rome\u2014then lettering can also have a history of its own. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Boulogne, 2022 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Boulogne, 2022 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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In 2025, you used new colours and new combinations. Can you tell us a little about \u2028the importance of colour to you?<\/strong> \u2028<\/p>\n\n\n\n

Colour is indeed very important in my work; in fact, it\u2019s often the foundation of my \u2028pieces. Colours are a starting point, and it\u2019s the interplay between them that I \u2028combine. After making extensive use of pastel and industrial colours, as well as the \u2028primary colour palette and their bold combinations, I began to take an interest in more \u2028muted and natural colours. <\/p>\n\n\n\n

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Regarding your working methods: What types of spaces or walls do you prefer (old \u2028or modern)?<\/strong> <\/p>\n\n\n\n

\u2028I like modern walls and concrete slabs when I can find them, but I don\u2019t really have a \u2028preference for any particular texture. I like slightly hidden spots where I can return \u2028several times to keep working on my pieces or spread out in an environment. I find \u2028such places by chance\u2014sometimes right in the city, sometimes in the forest. <\/p>\n\n\n\n

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What\u2019s the situation like in Rennes for street painting? How do you discover and \u2028choose your spots?<\/strong> <\/p>\n\n\n\n

\u2028Rennes is a city undergoing extremely rapid change, ranking among the 15 largest \u2028cities in France. I\u2019ve seen sites that were quickly demolished, and conversely, I\u2019ve \u2028seen spaces that were gradually overrun by vegetation. The more Urbex sites I \u2028visited, the more I noticed the damage that certain people could cause (broken \u2028windows, burn marks on the walls\u2026). I even once went to an abandoned building to \u2028paint and found it burning from the inside\u2014the firefighters were already on the \u2028scene. Generally speaking, in Rennes it\u2019s good to explore the different \u2028neighborhoods, which all have very distinct architectural styles, and that inevitably \u2028leads to discovering interesting spots. <\/p>\n\n\n\n

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What technique did you use when you first started, and what do you use on walls \u2028these days?<\/strong> <\/p>\n\n\n\n

\u2028I still mostly use spray paint. It\u2019s a necessary tool, but I try to repurpose it beyond its \u2028usual uses to create new forms. I also use rollers and brushes, which allow me to \u2028explore more painterly aesthetics. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Clamart, 2023 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Clamart, 2023 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Bagnolet, 2023 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Bagnolet 2, 2023 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Have you developed a specific tool or technique?<\/strong> <\/p>\n\n\n\n

\u2028It\u2019s more of a jerky technique with spray paint, where the movements clash with the \u2028classic conventions of contouring, filling, or outlining. <\/p>\n\n\n\n

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What are the steps in your wall-painting process, and how long does it take you to \u2028paint a piece roughly?<\/strong> \u2028<\/p>\n\n\n\n

It can take anywhere from 30 seconds to create an \u201cAntibuff\u201d\u2014my abstract works \u2028that interact with the \u201cbuff\u201d\u2014to several hours for much larger pieces. Overall, I try to \u2028find the right balance between efficiency and density\u2014not overloading a space so \u2028that the painting feels free and fluid, while still producing a complete piece. Although, \u2028of course, unfinished paintings can have their own charm. <\/p>\n\n\n\n

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Do you decide on a specific format for the wall before you start?<\/strong> \u2028<\/p>\n\n\n\n

Yes, most of the time, when other graffiti is already there. In that case, I adapt, but \u2028when I\u2019m in an untouched area, I can spread out and not plan a specific framework\u2014\u2028that can lead to long-term evolution. <\/p>\n\n\n\n

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What was the longest long-term evolution of a piece?\u2028<\/strong><\/p>\n\n\n\n

There\u2019s a building that\u2019s been abandoned for many years and is hidden away \u2028enough that few graffiti artists have been there. I\u2019ve been visiting this spot regularly \u2028since 2021. I\u2019ve created loads of pieces there, covering a fairly wide section of the \u2028building\u2019s fa\u00e7ade. They interact with one another and evolve alongside any toy art \u2028or other graffiti that appears. I\u2019ve managed to get in several times and add my \u2028pieces inside, but now it\u2019s completely sealed off. Regardless, this spot is still a work \u2028in progress and I\u2019m continuing to develop my work there.<\/p>\n\n\n\n

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Do you make a sketch beforehand, and how important is sketching to your work in general?<\/strong> <\/p>\n\n\n\n

\u2028I draw very often\u2014almost every day. Sometimes I keep certain shapes to draw \u2028inspiration from and reproduce their energy on the wall, but that\u2019s pretty rare. Most of the time, I improvise directly on the wall, and it\u2019s my gestural style that guides me as I paint. <\/p>\n\n\n\n

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\"OPUR,<\/a>
OPUR, Rennes, Route De Lorient, 2023 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Meudon, 2023 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Bi\u00e8vres 2, 2024 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Clamart, 2023 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Bi\u00e8vres, 2024 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, B\u00e9nouville, 2024 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Paris, Les Halles, 2024 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, V\u00e9lizy, 2024 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n\n\n\n

How important is freestyle in your work?<\/strong> <\/p>\n\n\n\n

\u2028It\u2019s a pretty significant part of my work. I have a template that I follow most of the \u2028time, using jagged lines. It\u2019s a style that brings me closer to graffiti\u2014just as people \u2028who do throw-ups know their lettering perfectly, I know exactly how to control the \u2028randomness in my work. <\/p>\n\n\n\n

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How do you proceed to find new shapes and textures?<\/strong> \u2028<\/p>\n\n\n\n

I come up with them based on the spaces I visit and the colours I can combine on the \u2028spot. Sometimes I mix colours in my paint cans to create new combinations. <\/p>\n\n\n\n

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How would you describe your actual style in your own words?<\/strong> \u2028<\/p>\n\n\n\n

First of all, I don\u2019t necessarily mean \u201cantistyle\u201d\u2014it\u2019s an internet term that\u2019s useful for \u2028bringing together graffiti artists who can understand one another. I\u2019m also interested \u2028in all the styles that fall into this category. Personally, I\u2019d rather talk about \u2028contemporary, experimental graffiti or abstract painting in public spaces. In an era \u2028when it\u2019s easy to confuse terms and labels, I\u2019m still working on finding a name for my \u2028work. It might be a bit pretentious to claim a special term all for myself, especially \u2028since I sometimes create traditional pieces, \u201cantistyle\u201d pieces, and\u2014at times\u2014\u2028completely abstract works. I think it\u2019s better to describe individual pieces rather than \u2028my body of work as a whole, until I publish a manifesto to label my entire body of \u2028work. <\/p>\n\n\n\n

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You are thinking about writing a manifesto?\u2028<\/strong><\/p>\n\n\n\n

Yes, I think so. I\u2019ve already written some short essays on \u2018antibuff\u2019 \u2013 a concept I \u2028didn\u2019t invent, but for which I came up with the name. I\u2019m not the only one to use \u2028buffing and erasure to create new works, but I felt it was important to find a clear \u2028name for this process. Once I\u2019ve managed to find a consistent thread in my painting \u2028\u2013 if I can carve out my own personal path \u2013 I\u2019ll write a manifesto. For now, I\u2019m \u2028already very happy to have a recognisable style amongst the large number of \u2028graffiti artists working in abstraction and experimenting with graffiti.<\/p>\n\n\n\n

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What do you like about abstraction?<\/strong> \u2028<\/p>\n\n\n\n

Moving from lettering to abstraction is a process that takes as many forms as \u2028there are artists. For me, abstraction lets me play with colours and pareidolic shapes, \u2028so I imagine worlds and forms as I paint, without necessarily trying to accurately \u2028illustrate what I\u2019m thinking. I like to create vibrant, effervescent worlds; this state of \u2028mind can linger in the minds of people who see my paintings. It\u2019s like an open door, \u2028an invitation to a conversation, an exchange between the artist and the active viewer. <\/p>\n\n\n\n

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Do you always call your wall works \u201cpieces\u201d?<\/strong> \u2028<\/p>\n\n\n\n

Yes, when they\u2019re large-scale works that took me a long time to create. \u201cPiece\u201d is a \u2028term I use for graffiti that\u2019s fairly accomplished in terms of size and detail. If it\u2019s a \u2028smaller, more incisive, quickly executed piece of graffiti or an \u201cAntibuff,\u201d I just call it \u2028\u201cgraff.\u201d \u2028<\/p>\n\n\n\n

The older generations painted in classic styles, learning the rules of lettering and \u2028being active in the urban space for a long time to gain experience and \u2028recognition within the scene. It seems that some of the younger generations aren\u2019t \u2028even learning the classic styles and rules anymore; they\u2019re skipping the basics to paint an \u2028\u201canti\u201d or abstract style right away, inspired by those who developed these new \u2028languages after 20 years or more of graffiti writing practice. Moving from lettering to \u2028new forms and expressions, they\u2019re creating pictorial works and murals. What do you \u2028think of this phenomenon that\u2019s part of this younger generation?<\/strong> \u2028<\/p>\n\n\n\n

I think it\u2019s pretty fun to see people younger than me confidently taking on highly \u2028visible spots. I find it amusing to see them embrace their rough styles\u2014after all, I \u2028kind of started out that way too, experimenting differently with each session. <\/p>\n\n\n\n

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If someone starts right away with abstract paintings or antistyle forms, are they still \u2028graffiti writers, or should they simply be called wall painters\/muralists? What do you think?<\/strong> \u2028<\/p>\n\n\n\n

I get the impression that younger people who start doing graffiti spontaneously\u2014right \u2028away in unconventional or bizarre styles\u2014are still influenced by certain things at the \u2028beginning. That\u2019s normal, of course, but it doesn\u2019t necessarily define their direction; \u2028they might change course, or stick with certain ideas that will lead them to do graffiti \u2028no matter what. We\u2019re always talking about painting, but the influence of graffiti as a \u2028mindset is always there. <\/p>\n\n\n\n

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\"OPUR,
OPUR, Rennes, Centre Villle, 2025 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Rennes, Skateparc Arsenal, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Le Rheu, 2025 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,<\/a>
OPUR, Rennes, Route De Lorient, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Rennes, Villejean, Antibuff 2, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Rennes, Villejean, Antibuff 3, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Rennes, Villejean, Antibuff 4, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Saint-Jacques-De-La-Lande, 2026 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Do you know many young people in France between the ages of 15 and 27 doing graffiti or murals?<\/strong> \u2028<\/p>\n\n\n\n

Yes, I know several with different styles. I\u2019ve already noticed changes in the painting styles of graffiti writers younger than me; I get the impression that some of them understand that there\u2019s something at stake in standing out. Challenging one\u2019s own habits and formulas to bring energy to one\u2019s work, leaning toward the abstract\u2014that\u2019s a way to stand out, to take less-traveled paths within the world of graffiti. <\/p>\n\n\n\n

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Can you describe the styles that are emerging? Do you see anything new or \u2028original?<\/strong> \u2028<\/p>\n\n\n\n

When I look at the generations a little younger than me, I see a return to traditional \u2028graffiti with a deconstructed feel. It\u2019s not laziness or carelessness\u2014I think each \u2028generation brings something new to graffiti. And in this return to traditional lettering, I \u2028get the impression that it\u2019s more about pure vandalism driven by political ideas\u2014in a \u2028world where repression is on the rise and people are seeking increasingly concrete \u2028ways to rebel against political powers that couldn\u2019t care less about us. In any case, \u2028this observation holds true for Europe. <\/p>\n\n\n\n

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Do you have a vision of what this new generation might invent or develop further?<\/strong> \u2028<\/p>\n\n\n\n

I see a new relationship with vandalism\u2014a kind of defiant relationship with \u2028aesthetics. I think it would be a trap to focus solely on the aesthetics of the new \u2028generations; the real interest lies in the chosen spots and the coming together of \u2028individuals around the legacy of graffiti. Surveillance systems are evolving, as are \u2028the spots, the methods used, and the cost of paint\u2014all these elements will shift the \u2028codes of graffiti. <\/p>\n\n\n\n

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You\u2019re studying art history now. Why theory, and how can this knowledge be useful \u2028for your practice?<\/strong> <\/p>\n\n\n\n

\u2028I\u2019m always drawing connections between contemporary art and graffiti; these \u2028explorations allow me to develop my practice. So I work simultaneously with art brut, \u2028experimental art, 1960s conceptual art, and post-vandalism, for example. I try to take \u2028a holistic view and establish connections between the things we study and my own \u2028practice. Theory allows me to think and reflect differently when I\u2019m painting, which \u2028invariably changes my pictorial practice. <\/p>\n\n\n\n

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How exactly do you work with art brut?\u2028<\/strong><\/p>\n\n\n\n

For the past year, my colleagues in art history and I have been working on art brut \u2028and its developments within contemporary art. I see what is known as art brut as a \u2028tree that is still distinct from contemporary art, one that grows on the periphery and \u2028occasionally breaks through the walls of contemporary art. Today, there are many \u2028thinkers, writers and artists examining art brut, and it is a term that must be \u2028considered alongside art therapy, mediumistic art, the concept of care, and the link \u2028to mental disabilities. All these fields have historically been part of art brut, which is \u2028why it is a concept that must be handled with great care. I\u2019ve heard quite a few \u2028graffiti artists link graffiti and art brut; I believe the bond between them is a spirit of \u2028independence and a desire for freedom.<\/p>\n\n\n\n

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What is post-vandalism, and how did you discover the term?\u2028<\/strong><\/p>\n\n\n\n

Post-vandalism is a term coined by Stephen Burke to explore concepts related to \u2028graffiti through visual art. On the one hand, I welcome this approach, which is \u2028necessary for many artists to flourish within this movement and framework. On the \u2028other hand, I believe it may sometimes be necessary to distance oneself from it, or \u2028at least to embrace it sparingly. Indeed, it is a framework that can stifle creativity \u2028and the philosophical aspect of graffiti \u2013 we\u2019re talking about a practice that \u2028originated in Palaeolithic caves over 20,000 years ago.\u2028As humanity has evolved, it has become illegal, and numerous factors have come \u2028to define this art form. To use the term \u2018post-vandalism\u2019 to describe contemporary \u2028artworks that incorporate graffiti may be reductive and prevent us from exploring \u2028intellectual avenues.<\/p>\n\n\n\n

Thank you so much for your time, and good luck for your projects and the manifesto!<\/strong><\/p>\n\n\n\n

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instagram.com\/opur_la_bouture<\/a><\/p>\n\n\n\n

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\"OPUR,
OPUR, Chartres-De-Bretagne, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Rennes, Cesson-S\u00e9vign\u00e9, 2026 \u00a9OPUR<\/figcaption><\/figure>\n\n\n\n
\"OPUR,
OPUR, Rennes, Grand Quartier, 2026 \u00a9OPUR<\/figcaption><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

Hello! You are from France and you live in Rennes, in the region of Brittany. How long have you been living there, and why? \u2028I moved to Rennes for studying, in 2018, I started university to study visual arts.  Where did you grow up and live before that? \u2028I grew up and lived in \u00cele-de-France. […]<\/p>\n","protected":false},"author":5,"featured_media":52540,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[92,1255,1260,3269],"tags":[525,3575,3592,3512,3574],"class_list":["post-52464","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artist-crew","category-france","category-highlights-en","category-interview-en","tag-france","tag-graffiti-2","tag-interview-en","tag-katia-hermann-en","tag-postgraffiti"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t